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Ah I must have missed that. Yeah no doubt we will never get, say, a song with him in the verses and Oli Sykes in the chorus/bridge, it would be too similar. But I could see him doing stuff with someone like 100 Gecs who have very aggressive vocals but are doing it in a fresh way (outside of Billie Knows Jamie which is basically nu metal) I thought Lights on Last One To Know was great, she added a brightness and energy that Mike couldn't do himself but it didn't feel at all like a Chester replacement.

There's a full vid on YouTube here: Mike is clearly eager to keep LP material alive on the stage, and G Flip sounds great. I hope this new Mike era includes a lot of this and eventually, he does recorded music with guests like this who can elevate his writing beyond what he can do vocally. I wonder if that comment about is new stuff not having guests is limited to the next song or the entirety of whatever he's planning to release next

What about the BMI entries, I think I saw something about a couple of new entries with Celph Titled? In any case I'm excited, seems like it might be a rougher and angrier sound than stuff like Happy Endings or In My Head

Nice catch that the lyric sheet includes Lost lyrics, I don't think I ever noticed that. Shame we didn't get that version with M20

Fighting Myself page says it didn't make the board at NRG, but it did. It's "Shortcut", which the article says later on

Nah here we go, June 2022. I thought it was even earlier but I guess I'm thinking of Sir Sly

I remember this being talked about quite a long time ago, when was it? Nice to finally have it

I think they're trying to pick a more comparable show with an actual live audience

Hell yeah, great to see he's still got an appetite for playing live!

can anyone describe the actual difference in sound between the original and remastered?

Idk how Apple Music works, but I don't think that will matter for Spotify. Even if means it makes less playlists that are automated, I think that artists at this level can choose what appears in stuff like Release Radar through some kind of editorial mechanism Spotify offers. For example, More The Victim made a lot of playlists when M20 dropped. If it was automated, what were the chances out of all those new tracks that MTV made it? I also got Healing Foot later. Again, doubt that was coincidence. I've also received Remastered items from Young The Giant in my release radar, which is an infinitely smaller band.

Yeah exactly. I think it's just for attention, but not a CD or anything because this is just what the label deemed in budget/the right thing for the 21st century. I imagine that doing this gets it on tons of "new music" playlists for a couple weeks, it likely does way more than a CD in the streaming age while also being cheaper, would be my guess. In addition to your points about already having the sound he wanted, I think he also has an attitude of "it represents what I/we could do at the time". Like he could've re-recorded vocals for any M20 track but chose not to, he even said so on Howard Stern. And he's never seemed to care for HT Atmos either, saying on discord that they thought about doing spatial mixes but weren't really compelled to mess with old stuff

Very weird, I wonder if he was at all not happy w the master or if this is just some kind of label obligation. He never struck me as wanting to remaster anything; everything is representative of the work at that time

I had hoped for "Linkin Park and friends" and this is pretty much the next best thing, assuming it's gonna be Mike playing a mix of his and LP songs with other artists. Bonus if any LP members join him I wonder if any members, especially Brand and Rob given their absence from Meteora 20 appearances, may have mostly decided to hang their hat with LP. If they did, I imagine that's making it harder to pull off "LP and friends", but still not enough for Mike/Warner to want to put out any definitive words about LP

Anything to get more the victim more listens!

I like the idea but it doesn't work for me. After the original, it just sounds like someone is covering the instrumental but hasn't accurately figured it out yet. Should've gone all the way and changed out the percussion, and added some new harmonies to reflect the idea, and maybe some new riffs like the kind in Muse's Halloween song on their last album

My thoughts exactly. That first chorus cut felt like a mistake. There is nothing in this that is interesting at all. 100 Gecs was 100X more unique and interesting than this imo. I can imagine Mike thinking the 100 gecs remix was dope af, I can't imagine him being interested in this at all lol. I also wonder where this came from, I can only imagine it's for some trailer or something and someone said "might as well throw it on streaming"

Well, that was...something

I agree that LT has the worst mix, but I'm not sure that a better mix necessarily means it will sound more rock. I think it would be more like some of Muse's later work, where the synths and guitar sit more equally, but you can better pick apart the sounds and the song has a more lush "space" rather than sounding like a giant wall of noise. I actually think Powerless is alright on the album though, for some reason it sounds better than the others to me.

Idk why you're against age being a reason. Try and do what they did in 2001-2007 and see if you still have the energy and enthusiasm to move like that in your 30s. It's definitely not impossible, but it's not trivial either. A little knee or hip injury for example will go a long way in inhibiting someone's movement later in life. Brad broke his ankle at some point too right? And while putting on an energetic show is obviously important to them, they are not olympic athletes or something who are going to spend hours every day rehabbing to a certain point of performance.

Sick, that means we'll get some multitracks right? Also I'm very glad they're putting some effort into promoting MTV because it deserves at least as much as Fighting Myself, if not as much as Lost

That's what I'm thinking, but we also don't know what versions we have. They could have started out very different, and then slowly converged to the point where combining them felt more natural. I mean just look how much Resolution changed to become Lost. It's also hard to imagine Plaster 2 sounding too different if it's supposed to be OSC part 2. It could also be that they just had them separated as a creative exercise - flesh out everything on each track and then pick the best elements of each.

I agree that it is inconsistent and with your descriptions, except GATS to me sounds like every bit of it was intentional and pulled off well. It's got the right amount of "sloppiness" to it that I imagine mimics the styles and bands that inspired that sound. UIG though, like I said, is awful. I always felt Rebellion fell short of what it could be. ALITS sounds pretty good, even though their choice of vocal presence in that song is a bit strange for Chester's chorus

So with the song board showing Plaster 2 and Figure 09 as two different songs, I wonder how different they ever were given what plaster 2 sounds like on the M20 release. If they had Figure 09 (2002 demo) and Plaster 2 at the same time, surely they were already basically considering them the same song and wouldn't have them as two different songs on the board like that right? Makes me think there must be earlier seeds that were much more different and warranted separate places on the board

Since mixing is kind of a hot topic with Lost's 2 mixes and MTV/FM mixes, I'm curious to hear opinions across the discography. What tracks have the best and worst mixes in your opinion, and why? For me, Sorry For Now sounds fantastic. I love how big it sounds, how tight all the vocals are, the presence of the tiny percussion details in the verse, it all works. I also love a few ATS mixes like WTCFM, Blackout and Wretches and Kings. THP is a very mixed bag for me, but I think All For Nothing has the right kind of grit and "messy in the right ways" mix and works really well. For worst, I'm gonna have to say Until It's Gone. Chester's voice in the bridge hurts my ears sometimes, it's all so loud and squashed-sounding. I'll also say I'll Be Gone, because it all sounds squished together. There are such great strings and tones in that song, but there's no space between them, and you have to really focus to even figure out which sound is which. I think a better mix could have breathed new life into that song, as well as In My Remains